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ABOUT MY TABLE AND OTHER STORIES

Like much of Delbanco's full-length fiction (Stillness, Sherbrookes, etc.), these nine stories are intelligent, readable, well-meaning—yet lacking in depth, drama, or texture. In almost all the pieces, the focus is on a man nearing 40, usually married, usually the father of a beloved daughter; the man recalls an old flame, or considers the similarities between his dead mother and his young daughter, or muses on time and transience. (In "Traction," the man hurries home from a business trip to be with his daughter after her hip operation: "His baby lay in a hospital bed; he would tell her on arrival, though she would not comprehend him, how the world is in an orbit and ail-things are therefore circular.") Unfortunately, however, though Delbanco gives each of these men different names, ethnic backgrounds, and occupations (lawyer, doctor, insurance broker, academic), they are blandly interchangeable—and uniformly fuzzy; even a tale involving the discovery of infidelity fails to invest this persona with vividness or specificity. (Flattest of all is the essay-like title story—a meditation, dedicated to the late John Gardner's memory, on the unexpected deaths of friends: "Death visited him nightly. It comes when it will come. It could be a furnace malfunction, allergic reaction, rabid bat, oncoming drunk in a van in his lane, suicide, undiagnosed leukemia, handgun in a shopping mall, pilot error, stroke, the purposive assault of some unrecognized opponent, earth, air, water, flame.") And the few sparks of narrative urgency here come from some of the more interesting personalities who cross this central persona's path: in "The Executor," the hero (a frustrated artist) reluctantly inherits the papers of a late, semi-distinguished painter; in the similar "Northiam Hall," a would-be biographer goes to England to start research on the poet Harold Emmett but abandons the project ("Emmett's teaching had been suicide; he was better left alone. We each must learn to die; exampling helps only a little"); and in the faintly amusing "Ostinato," a tired notion—a husband's infidelity with the au pair girl—is given a bit of a bounce via the girl's oddly worded letters (she's Japanese) to both husband and wife. Mildly involving, never-disturbing short fiction, then: sentimental, wistfully thoughtful, undistinguished.

Pub Date: Aug. 1, 1983

ISBN: 0688021573

Page Count: 212

Publisher: Morrow/HarperCollins

Review Posted Online: Oct. 14, 2011

Kirkus Reviews Issue: Aug. 1, 1983

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NUTCRACKER

This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.

Pub Date: Feb. 23, 1955

ISBN: 0670717797

Page Count: -

Publisher: Viking

Review Posted Online: Oct. 25, 2011

Kirkus Reviews Issue: Feb. 1, 1955

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